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jamesluckard

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  1. Obviously this thread is 71 pages, so I'm not sure if this has been discussed before, but while listening to it just now, I noticed something fun: On Disc 1, track 12, "The Journey to Hogwarts", there's a brief quote of a theme from Home Alone 2. Starting at 1:04 there's a very Christmas-y section of the cue, and it concludes at 1:24 with the last 7 notes of the melody from "Merry Christmas, Merry Christmas" from Home Alone 2. Took me a couple of listens to remember why it was so familiar. Fun little Easter Egg there.
  2. Is the album version of "Schindler's Workforce" more richly orchestrated because it was only ever intended as an album version, where it wouldn't have to compete with dialogue and sound effects? Or were the takes that are combined into the album version truly early attempts at the actual film cues?
  3. On that note, I've always wondered if the album suite "Jewish Town (Krakow Ghetto - Winter '41)" was perhaps intended to actually be used in the film in that early portion, perhaps in scenes that were cut, but then it was realized that there should be almost no music that early in the film.
  4. I agree, it's amazing that almost all the score is in the film's final hour. It's really quite brilliant, because it lulls you into a sense that the film is a document, instead of a fiction, and once you're safely hooked by the film, the music subtly emerges, until it absolutely dominates the final portion. This choice Williams makes is extremely similar to what he did in, of all things, Black Sunday, which is one of my favorite films and one of my favorite Williams scores. Back in about 2002 they did a retrospective of Williams films at the AFI in DC leading up to a Williams concert, and they screened both Schindler's List and Black Sunday. I believe I remember reading the films they played were selected or at least approved by him.
  5. Thank you SO much!!! there's such a massive amount of source music, from various sources, that it's really helpful to have a clean spreadsheet like this of JUST the Williams-composed material. I'm sure someone will create something adding in the Williams-conducted pop songs and the many existing recordings that were tracked in as well, but this is HUGELY helpful!
  6. Does anyone know the story behind the bonus tracks "Reflections" and "Theme for Recorder" from Disc 2? Neither appears in the film, presumably they're album suites that were dropped at the time? Oddly, track 4 on Disc 2, Remembrances, is listed as "alternate," but track 5, "The Perlman Family," is not, although it's definitely an alternate too, the film version is on the album. Perhaps it couldn't be listed as an alternate because the film version doesn't appear under that name, as it's the second half of "Stolen Memories."
  7. Thanks so much for all the amazing info! So great to know the name of the group who recorded that version, the liner notes of the Pour Sacha CD say it's performed by Naomi Shemer, but I suspected that was a misprint. By the way, the song is also spelled as "Chel" on the Pour Sacha CD: I suspect that's where they got that spelling for Schindler's List, since they used the recording from that CD in the film. Then, when they recorded the SL album version, they just used the same spelling. I actually like that about the song, as it's used in the film, because it's a hopeful moment as they all leave the camp and crest the hill toward freedom, and then transition into the survivors in the present, on another hill, in Jerusalem. Obviously the specific Six Day War connotations the song has in Israel made it distracting to audiences there, but without that, just as an ode to the eternal power of Jerusalem, I actually find it really appropriate for that sequence.
  8. "Disc One of this special 2-CD presentation showcases the original soundtrack assembly, sourced from the original 1993 release’s 24-karat gold Ultimate Masterdisc digital master, while Disc Two contains previously unreleased tracks, sourced from engineer Shawn Murphy’s stereo digital masters, including two major cues that are now presented in the versions heard in the picture: “Schindler’s Workforce” and “I Could Have Done More,” both of which underwent revisions after the 1993 album had been prepared." BTW, a user at FSM put together a listing of the cues in the order Williams intended, and I updated it to be in film order. I definitely intend to make a film order mix, here it is just so people have it and don't have to search the various threads here: 05 · Schindler's Workforce (9:08) [The Money Exchange / Recruiting] 09A Stolen Memories [0:00-3:04] · (3:04) [The Luggage Scene] OYF'N Pripetshok - from the Billy Bathgate soundtrack album 06B Nacht Aktion [1:05-end] · (1:51) 09B [3:04-end] · (1:16) [The Perlman Family] 03 · Immolation (With Our Lives, We Give Life) (4:43) [The Burial Scene] 10 · Making The List (5:10) [Typing The List] 11A Give Me Your Names [0:00-2:14] · (2:14) [Say Your Name] 08 · Auschwitz-Birkenau (3:40) [The Shower Scene] 11B [2:14-end] · (2:40) [Returning Women] 07 · I Could Have Done More (5:52) [I Could Have Saved More] Yeroushalaim Chel Zahav - from the Pour Sacha soundtrack album 01 · Theme From Schindler's List (4:15) [Placing The Stones] 14 · Theme From Schindler's List (Reprise) (2:59) [End Credits Piano Overlay / End Credits Extension] 04 · Remembrances (4:20) Bonus tracks: 02 · Jewish Town (Krakow Ghetto - Winter '41) (4:40) [The Journey To Crakow (Introduction And Theme)] 06A [0:00-1:05] OYF'N Pripetshok - album version 12 · Yeroushalaim Chel Zahav - album version 13 · Remembrances (With Itzhak Perlman) (5:16) [End Credits] Track 2 is a concert arrangement, track 13 was originally recorded as the end credits, before tracks 14 and 4 were swapped in right before the film came out.
  9. Yep, I read about the reaction in Israel a while back, but I still love that piece of music over that scene, and for American audiences it worked perfectly.
  10. It's pretty easy to split those two cues up using the album version, there's a lengthy sustained note connecting them, I just faded out at the end of one cue and faded in on the opening of the other, in order to put the Auschwitz-Birkenau cue between them.
  11. I don't think either of the album versions would work well in the film, as for preferring them as listening experiences on their own, I'm not sure, I'm only interested in the film versions because they're inextricably linked in my mind with those scenes in the film.
  12. Well, there are also a number of other dance songs/tangos that Williams recorded for the film. You also might want to add this existing Perlman classical recording that's used as score when Schindler interviews secretaries and hires all the applicants:
  13. Thanks! The strange thing is the album versions of the two songs were both recorded by choirs in Israel, and conducted by other people, so based on the liner notes from the original CD, I'm not even clear if Williams had any involvement with them. Yet he clearly chose to include them on the album. Perhaps he commissioned these two Israeli choirs to record these versions? Either way, I'm glad both of the temp track versions stayed in the film. The Billy Bathgate version of OYF'N Pripetshok, arranged by Mark Isham, is much more effective, since it sounds intentionally like an amateur group of cheerful schoolchildren, with spare piano accompaniment. I can't find the whole piece online, but you can listen to a 30 second sample here, it's track 7: https://itunes.apple.com/gb/album/billy-bathgate-original-motion-picture-soundtrack/1051699204 The album version, performed by the Li-Ron Herzeliya Children's Choir of Tel Aviv, conducted by Ronit Shapira, is much like Yeroushalaim, it sounds professional and almost funereal, totally different:
  14. This is the recording of Yeroushalaim Chel Zahav used in the film, from the movie "Pour Sacha." (Note that this video is a slightly different mix from the "Pour Sacha" soundtrack album mix, which I can't find anywhere online): This is the album version, performed by The Ramat Gan Chamber Choir, conducted by Hana Tzur, Williams doesn't seem to have any involvement with it. The recording used in the film, with the guitar and the whistling and the individual voices more audible, feels human and hopeful. The choral recording feels timeless and solemn, almost funereal. They're radically different and the version Spielberg went with totally defines the ending of the film.
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